From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K

Total Page:16

File Type:pdf, Size:1020Kb

From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) T7600 LA 317e [i.e. TROIS CENT DIX SEPTIEME] SECTION (FRANCE, 1964) (Other titles: Platoon 317; Sangre en Indo-China; Three hundred seventeenth section; Three seventeenth platoon) Credits: director/writer, Pierre Schoendoerffer. Cast: Jacques Perrin, Bruno Cremer, Pierre Fabre, Manuel Zarzo. Summary: War film set in Laos in May 1954. Follows a French/Laotian platoon during May 1954 (two months before the armistice) as they withdraw through the jungle after the fall of Dien Bien Phu. They are slowly annihilated by ambushes and disease. The film captures the inarticulate anguish and solitude of each man by focusing on a veteran Alsatian sergeant (who fought in the German army in World War II) and a young French officer fresh from military school. Their impersonal, hierarchical and sometimes hostile relationship develops into an unlikely friendship. Both the director Pierre Shoendoerffer and the photographer Raoul Coutard were veterans of the Indochina war. Alion, Yves, “La 317e section” Revue du cinema/Image et son 457 (Feb 1990), p. 36. Daniel, Joseph. Guerre et cinema [GB] (p. 365-7, 405) Dembrow, Michael (see under Farrell, Alan) Farrell, Alan and Dembrow, Michael. “The 317th platoon (La 317eme section, a.k.a. Platoon 317)” Vietnam war feature filmography (1992 draft) [GB] (p. 405-7) and Vietnam war films [GB] (Entry 595) Freitas, Gary. War movies : the Belle & Blade guide to classic war videos Bandon, OR : Robert D. Reed Publishers, 2004. Graham, Peter. “La 317e section” Film quarterly 19/3 (spring 1966), p. 48-50. ___________. [La 317e section] International film guide New York : A.S. Barnes, 1964- (1966, p. 71) Moskowitz, Gene (Mosk). “La 317 section (Platoon 317)” Variety (Mar 10, 1965), p. 6. Shivas, Mark. [317e section] Movie 14 (autumn 1965), p. 41. [317e section] Cahiers du cinema 166-167 (May/Jun 1965), p. 131. [317e section] [Interview with Schoendorffer] Cahiers du cinema 168 (Jul 1965), p. 54. [317e section] Film francais 1085 (Mar 12, 1965), p. 18. [317e section] Jeune cinema 7 (May 1965), p. 4. c2005 J.K.M. Enterprises .
Recommended publications
  • A Film by Catherine BREILLAT Jean-François Lepetit Présents
    a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”.
    [Show full text]
  • To Mark the 150Th Anniversary of the Birth of Matisse and the Upcoming
    To mark the 150th anniversary of the birth of Matisse and the upcoming exhibition of his work at the Pompidou Centre in Paris in 2020, this art documentary invites us to retrace the voyages Matisse made that influenced his art, especially his last trip to Polynesia in 1930, which took him to the threshold of contemporary art with the invention of his gouache-painted cut-outs. In 1930, at the age of 60, Matisse feels the call of the sea, the lure of elsewhere, one last time. He decides to embark on the longest possible journey: to the antipodes, to see Polynesia. The voyage to Tahiti takes several weeks, giving him time to look back on the distance he has travelled in his lifetime. He reflects on the many journeys that he, a man of the North searching for bright light and colours, has continually made throughout his life and career as a painter: to Corsica, Collioure and Nice, where he finally settled in 1917, but also to Algeria, Morocco and the United States. Each time, these trips have been a stepping stone to something else. His Corsican experience led him to Fauvism, his sojourn in Morocco to modern painting; Polynesia will permeate the last 25 years of his creative life and take him to the threshold of contemporary art. This lifelong artistic quest for other lights, colours and shapes has also, above all, been a search for himself that has driven him tirelessly and passionately to pursue the great journey of his life. Polynesia, the sea (1948) Note : The works presented in this dossier are all signed by Henri Matisse and their rights belong to Les Héritiers Matisse (© Succession H.
    [Show full text]
  • Interview Avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue
    Document generated on 09/26/2021 4:37 p.m. Protée Interview avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue Lumières Article abstract Volume 31, Number 3, hiver 2003 Among numerous anecdotes about what represents for us cult films like Le Mépris, À bout de souffle, Alphaville and Tirez sur le pianiste, Raoul Coutard – URI: https://id.erudit.org/iderudit/008441ar famous chief-operator of the “ nouvelle vague ”, photographer and director – DOI: https://doi.org/10.7202/008441ar evokes his work as a lighting engineer, and more particularly the technical and chemical constraints encountered during shooting. This highly technical See table of contents discussion points to, beyond the obvious limitations of the language to account for the light during shooting, how much the material constraints are generating meaningful and admirable luminous effects for their spectators. Publisher(s) Département des arts et lettres - Université du Québec à Chicoutimi ISSN 0300-3523 (print) 1708-2307 (digital) Explore this journal Cite this article Parais, P.-E. & Renoue, M. (2003). Interview avec Raoul Coutard. Protée, 31(3), 101–106. https://doi.org/10.7202/008441ar Tous droits réservés © Protée, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research.
    [Show full text]
  • Framing 'The Other'. a Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese.*
    Framing ‘the Other’. A critical review of Vietnam war movies and their representation of Asians and Vietnamese.* John Kleinen W e W ere Soldiers (2002), depicting the first major clash between regular North-Vietnamese troops and U.S. troops at Ia Drang in Southern Vietnam over three days in November 1965, is the Vietnam War version of Saving Private Ryan and The Thin Red Line. Director, writer and producer, Randall Wallace, shows the viewer both American family values and dying soldiers. The movie is based on the book W e were soldiers once ... and young by the U.S. commander in the battle, retired Lieutenant General Harold G. Moore (a John Wayne- like performance by Mel Gibson).1 In the film, the U.S. troops have little idea of what they face, are overrun and suffer heavy casualties. The American GIs are seen fighting for their comrades, not their fatherland. This narrow patriotism is accompanied by a new theme: the respect for the victims ‘on the other side’. For the first time in the Hollywood tradition, we see fading shots of dying ‘VC’ and of their widows reading loved ones’ diaries. This is not because the filmmaker was emphasizing ‘love’ or ‘peace’ instead of ‘war’, but more importantly, Wallace seems to say, that war is noble. Ironically, the popular Vietnamese actor, Don Duong, who plays the communist commander Nguyen Huu An who led the Vietnamese People’s Army to victory, has been criticized at home for tarnishing the image of Vietnamese soldiers. Don Duong has appeared in several foreign films and numerous Vietnamese-made movies about the War.
    [Show full text]
  • Gender and the Politics of Decolonization in Early 1960S French Cinema
    This is a repository copy of Gender and the politics of decolonization in early 1960s French cinema. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/142211/ Version: Accepted Version Article: Sharpe, M (2019) Gender and the politics of decolonization in early 1960s French cinema. Journal of European Studies, 49 (2). pp. 163-183. ISSN 0047-2441 https://doi.org/10.1177/0047244119837478 © 2019, The Author(s). This is an author produced version of an article published in the Journal of European Studies. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Gender and the politics of decolonization in early 1960s French cinema Erotophilic and politically sublimated are two barbs frequently mobilized to critique the imaginary of early 1960s French cinema. Erotophilic as, for the most part,
    [Show full text]
  • 1 Rapport D'activité 2010
    Rapport d’activité 2010 RAPPORT D’ACTIVITÉ 2010 Rapport d’activité 2010 TABLE DES MATIERES Editorial ....................................................................................................................................................................... 3 I LES ACTIVITES PROPOSEES AU PUBLIC EN 2010..........................................................................................5 1 La programmation des films ................................................................................................................................ 6 2 Les expositions.................................................................................................................................................. 10 3 L’action culturelle............................................................................................................................................... 12 4 La Bibliothèque du film ...................................................................................................................................... 20 5 La Librairie et le restaurant................................................................................................................................ 22 6 Les invités de la Cinémathèque ........................................................................................................................ 23 II LES COLLECTIONS............................................................................................................................................25 1 Enrichissement
    [Show full text]
  • Pierre Schoendorffer: Obit
    1 The Telegraph 14 Mar 2012 Pierre Schoendoerffer Pierre Schoendoerffer, the writer and director, who has died aged 83, captured the torment of Western soldiers in the sodden jungles of south-east Asia, influencing Apocalypse Now and shaping modern audience expectations of what war films should look like. Concentrating on the confusion, fear, loneliness and moral compromises made by, as often as not, young men barely out of school, Schoendoerffer recorded the fall of the French at Dien Bien Phu and won an Oscar for a documentary about an American platoon in Vietnam. Though fighting, killing and dying inevitably shaped his dramas, it was the details of each man’s life that fascinated him. “ What’s interesting is how they behave, not just in battle, but how they live, how they eat, how they sleep, how they relax and have fun, how they establish an extraordinary solidarity with the threat of death all around,” he said. As well as his documentaries, Schoendoerffer wrote books and made feature films about war which were highly influential. His novel L’Adieu au Roi (1969) was adapted for the screen as Farewell to the King by John Milius, who also wrote the screenplay for Francis Ford Coppola’s Vietnam epic Apocalypse Now (1979). One scene from the extended version of Apocalypse Now features French rubber planters discussing the pressures on colonial families in Indo- China. Suddenly one of them seizes an egg and crushes it in his fist. “This is the truth,” he says, as the egg white seeps through his fingers, leaving the yolk in his palm.
    [Show full text]
  • Winged Migration Pressbook
    Jacques Perrin presents “WINGED MIGRATION” 85 Minutes. Not Yet Rated by the MPAA. A Sony Pictures Classics Release. EAST COAST: WEST COAST: EXHIBITOR CONTACTS: MAGIC LANTERN, INC. BLOCK -KORENBROT SONY PICTURES CLASSICS SARA FINMANN MELODY KORENBROT CARMELO PIRRONE JESSICA UZZAN ZIGGY KOZLOWSKI MARISSA MANNE 250 WEST 57TH STREET 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1718 SUITE 200 8TH FLOOR NEW YORK, NY 10107 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 586-7233 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 586-7282 FAX: (323) 655-7302 FAX: (212) 833-8844 www.magiclanternpr.com Visit the Sony Pictures Classics internet site at: http:/www.sonyclassics.com WINGED MIGRATION Filmmakers Director JACQUES PERRIN Co-Directors JACQUES CLUZAUD MICHEL DEBATS Narrator JACQUES PERRIN Writers STÉPHANE DURAND JACQUES PERRIN Producers CHRISTOPHE BARRATIER JACQUES PERRIN Executive Producer JEAN DE TRÉGOMAIN Associate Producers REINHARD BRUNDIG DANIÈLE DELORME JEAN-MARC HENCHOZ JEAN LABADIE JOSÉ MARÍA MORALES ANDREA OCCHIPINTI YVES ROBERT Cinematographers MICHAEL BENJAMIN SYLVIE CARCEDO-DREUJOU LAURENT CHARBONNIER LUC DRION LAURENT FLEUTOT PHILIPPE GARGUIL DOMINIQUE GENTIL BERNARD LUTIC THIERRY MACHADO STÉPHANE MARTIN FABRICE MOINDROT ERNST SASSE MICHAEL TERRASSE THIERRY THOMAS Sound Recordist PHILIPPE BARBEAU Composer BRUNO COULAIS Editor MARIE-JOSÈPHE YOYOTTE Production Design RÉGIS NICOLINO Stills Photographer MATHIEU SIMONET Idea VALENTINE PERRIN * * * 2 WINGED MIGRATION “For eighty million years, birds have ruled the skies,
    [Show full text]
  • Television Movies: Big Pictures on the Small Screen the Trip to Bountiful
    Television Movies: Big Pictures on the Small Screen February 19-29, 2020 The Roy and Niuta Titus Theaters Wednesday, February 19 4:30pm The Trip to Bountiful. 1953. USA. Directed by Vincent J. Donahue. Written by Horton Foote. 60 min. 6:30pm Tosca. 1955. USA. Directed by Kirk Browning. Adaptation by John Gutman. 111 min. Thursday, February 20 4:30pm The Anderson Platoon. 1967. France. Written and directed by Pierre Schoendoerffer. 63 min. 6:30pm Present Laughter. 1967. Great Britain. Directed by Gordon Flemyng. Written by Noël Coward. 100 min. Friday, February 21 4:30pm Le petit théâtre de Jean Renoir (The Little Theater of Jean Renoir). 1970. Italy, France. Written and directed by Jean Renoir. In French; English subtitles. 100 min. 7:30pm Angst vor der Angst (Fear of Fear). 1975. Federal Republic of Germany. Written and directed by Rainer Werner Fassbinder. In German; English subtitles. 88 min. Saturday, February 22 1:30pm The Glass Menagerie. 1973. USA. Directed by Anthony Harvey. Screenplay by Stewart Stern. 105 min. 4:30pm Cartesius. 1974. Italy. Written and directed by Roberto Rossellini. In Italian; English subtitles. 150 min. 7:30pm Meantime. 1983. Great Britain. Written and directed by Mike Leigh. 107 min. Sunday, February 23 2pm Inside. 1996. United States. Directed by Arthur Penn. Written by Bima Stagg. 94 min. 4:30pm The Trip to Bountiful. 1953. USA. Directed by Vincent J. Donahue. Written by Horton Foote. 60 min. 6:00pm Tosca. 1955. USA. Directed by Kirk Browning. Adaptation by John Gutman. 111 min. Tuesday, February 25 4:30pm Present Laughter. 1967.
    [Show full text]
  • Discours De Coline Serreau En Hommage À Pierre Schoendoerffer
    1 Installation de Coline Serreau à l’Académie des beaux-arts Mercredi 11 décembre 2019 Hommage à Pierre Schoendoerffer Mesdames, messieurs… je vous remercie d'être venus ici aujourd'hui, famille, amis, collègues, techniciens de cinéma, acteurs, musiciens, choristes, amours anciens ou présents, amis et famille de Pierre Schoendoerffer. Je suis heureuse de vous sentir près de moi dans cette cérémonie qui va me rattacher à une compagnie dont je mesure avec gratitude, depuis plus d'un an que je la fréquente, la bienveillance à mon égard, la haute qualité artistique, et dont je me réjouis chaque mercredi de la retrouver pour discuter de nos métiers, divers en apparence, mais semblables dans leur essence, métiers auxquels nous avons consacré nos vies et que les académiciens défendent avec passion et générosité. Je vais maintenant vous parler de celui au fauteuil duquel je succède, Pierre Schoendoerffer. Pierre est un cinéaste dont l'on pourrait croire que l'œuvre est à l'opposé de la mienne. Moi fille de militants, de résistants purs et durs, qui ont commencé leur jeune vie d'adultes par le soutien aux républicains espagnols contre Franco, puis sont entrés en résistance contre les allemands, (Les trois femmes qui m'ont élevée sont aujourd'hui au Panthéon au titre des Justes parmi les nations car ayant sauvé de nombreux enfants juifs à Dieulefit dans la Drôme). Ensuite mes parents se sont insurgés contre la guerre d'Algérie, guerre d'occupation coloniale, ils ont soutenu très concrètement la résistance algérienne : Ma mère a été inculpée par
    [Show full text]
  • Rocky Road to Dublin: the Influence of the Rf Ench Nouvelle Vague on Irish Documentary Film
    Irish Communication Review Volume 13 Issue 1 Article 9 January 2013 Rocky Road to Dublin: the Influence of the rF ench Nouvelle Vague on Irish Documentary Film Isabelle Le Corff Follow this and additional works at: https://arrow.tudublin.ie/icr Part of the Communication Technology and New Media Commons Recommended Citation Le Corff, Isabelle (2013) "Rocky Road to Dublin: the Influence of the rF ench Nouvelle Vague on Irish Documentary Film," Irish Communication Review: Vol. 13: Iss. 1, Article 9. doi:10.21427/D70H71 Available at: https://arrow.tudublin.ie/icr/vol13/iss1/9 This Article is brought to you for free and open access by the Current Publications at ARROW@TU Dublin. It has been accepted for inclusion in Irish Communication Review by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License ROCKY ROAD TO DUBLIN: The influence of the French nouvelle vague on Irish documentary film Isabelle Le Corff Introduction Rocky Road to Dublin was certainly one of the first, if not the very first Irish film ever selected for inclusion in the worldwide famous Cannes festival. Unfortunately, this was in and Jean-Luc Godard, along with other nouvelle vague filmmakers, insisted on closing down the festival after only a few days. We will examine the exchanges that occurred between Irish and French culture in the making of this independent documentary film, how it was received, and the film’s notoriety in Ire- land and in France from until today.
    [Show full text]
  • The Representation of the Colonial Past in French and Australian Cinema, from 1970 to 2000
    The Representation of the Colonial Past in French and Australian Cinema, from 1970 to 2000 John James Emerson Thesis presented for the degree of Doctor of Philosophy Department of French Studies Centre for European Studies and General Linguistics University of Adelaide South Australia July 2002 ii This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference is made in the text. I give consent for a copy of my thesis to be deposited in the University Library and to be made available for loan and photocopying. ohnJ amesJ Emerson. iii Acknowledgments: This thesis could not have been completed without the postgraduate scholarships awarded by the Commonwealth Government of Australia, and the various scholarships awarded by Adelaide University and its French Department, now part of the Centre for European Studies and General Linguistics. I wish to thank especially Dr Jean Fornasiero for support well beyond the call of normal duty. I wish to thank also my supervisor Dr Blandine Stefanson and Professor Peter Mühlhäusler, my associate supervisor for fifteen months. For their readings and comments, I thank Dr Philip Butterss and Catharine Abell. I wish to extend my gratitude to Hans Albers and Gilly Albers for being able to take my thesis up to Anlaby Station away from the urban distractions. In France I wish to thank Jean-Paul Delamotte, Monique Delamotte, Elaine Lewis, Abdelkader Benali, Floréal Jiminez, Francis Ramirez (Université de la Sorbonne Nouvelle - Paris III), Bertrand Tavernier, Muriel Carpentier (Forum des Images - formerly the Vidéothèque de Paris), and the staff of the Maison des Sciences de l’Homme, all of whom provided indispensable support and guidance.
    [Show full text]